David Wiseman

This design began with the goal of making the perfect chair to play guitar by the fire. It morphed into something far more elaborate, but the initial shape, pitch, and height were developed for that function. The bronze lattice form is inspired by turkey tail mushrooms, and the green velvet by the color and fuzzy texture of wisteria seedpods growing here at the studio. The inlayed resin color palette was also inspired by the sorceress, Zeniba, from Spirited Away, an endless source of inspiration, so thus the name. Zeniba Chair, 2024, Bronze, resin, and velvet, 26” (H) x 22.5” (W) x 28” (D), Edition of 6 + 2 APs. Photography: @markhanauer

All in a day’s work. We drove a monumentally scaled bronze branch chandelier up the coast, to Montecito, CA. @nazilaahmad_i beautifully captures our team, installing it – limb by limb – filling the lofty vaulted space with light, shadow, and form.

Some spaces are more than studios — they feel like stepping into the mind of an artist. Visiting David Wiseman’s studio was an experience of witnessing delicacy, imagination, and a profound dialogue between nature and art. His work, from intricate bronze filigree to poetic porcelain forms, reminded me that details can become the story itself — something I am always searching for in cinema. cover photo: @markhanauer For me, this was more than simply seeing objects. It was entering a world where craftsmanship, memory, and imagination breathe together. As a filmmaker, it was deeply inspiring to see how ornament can be transformed into emotion, and material into narrative. Some spaces don’t just hold art — they hold a way of seeing. Today, I walked through one of them. I left the studio carrying more than inspiration — I left with images, textures, and stories. Moments like this remind me why I chose storytellin @dwisemanstudio

HomeArt presents Nature as Refuge, on view in Hong Kong from March 23 – September 23, 2026. Bringing together over sixty works spanning sculptural furniture, lighting, and immersive installations, the exhibition unfolds as a meditation on ornament, structure, and the enduring presence of nature within the built environment. Branches arc into chandeliers; porcelain blossoms gather overhead; lattices and terrazzo inlays trace organic geometries through space. Moments of blossoming and ripening are held still in bronze and ceramic, where nature’s delicacy is made enduring. David Wiseman (b. 1981, California) is a Los Angeles–based artist and designer known for sculptural works that bridge fine art and design. Working across bronze, porcelain, glass, plaster, and terrazzo, he draws from global decorative traditions and sustained study of the natural world. His practice has been exhibited internationally and is represented in the permanent collections of the Corning Museum of Glass, the Los Angeles County Museum of Art, the RISD Museum, and the Crystal Bridges Museum of American Art. Landmark installations include Platanus bibliotechalis at the West Hollywood Library, where cast bronze and porcelain sycamore branches extend sixty feet through the building’s stairwell and ceiling, and The Four Seasons of Flower Fruit Mountain, an immersive work inspired by nature and folk legend. In Nature as Refuge, this architectural sensibility is distilled into an environment of quiet intensity—an invitation to pause, look closely, and encounter nature rearticulated as living form. By appointment only. For inquiries, please email [email protected]

The placement of this exquisite David Wiseman piece has finally brought my Norman Foster residential lobby project to fruition, and it seamlessly integrates with the elegant works of Achilles Salvagni.

This white-on-white white porcelain and plaster ceiling installation was years in the making. It was sketched, sculpted, cast, panels cut, in studio then brought together here in Houston. The opening brief with the client shared historic images of an elegant steel and woodframed 1950s modernist home, built by famed architect Hugo V. Neuhaus. The ceiling’s organic nature lives in contrast to the rectilinear design of the home, though it references its verdant gardens, including dogwood, nasturtiums, pomegranates, and hollyhocks. It’s always a joy to develop projects with clients who are eager to push my work in new directions. Photography: @lukerphotography

This wild datura tree, laden with trumpet blossoms, supports a micro ecosystem of dangling donkey tail succulents and sprouting mushrooms. It was designed to descend from a high ceiling above a dining table, perched far above the New York City skyline. I love the idea of this wild composition living within a refined interior space. Illuminated Branch Sculpture, 2025, Bronze and porcelain, 67” (H) x 92” (L) x 60” (W). Photography: @markhanauer

The Collage Clover Side Tables Last year, for a show at Salon 94 Design, I was investigating furniture ideas, using cast bronze, inlaid with different materials: porcelain, concrete, resins, and fibers. We made dozens and dozens of tests, where a bronze pattern would be ‘in-filled’ with different techniques—sometimes, marbled, sometimes flat colors, sometimes developing our own techniques where we coated small pieces of resin in layers of various colors, packing them into the voids, and polishing them smooth to reveal a crackled or mosaic effect. The sample plates were too fun and fantastic to be left alone, so we decided to create the Collage Clover Side Tables, which display and celebrate the variety of our explorations. Collage Clover Side Table, 2025, Bronze and resin, 18” (H) x 14” (W) x 14” (D). Photography: @markhanauer

After Spring’s wisteria corner came into full blossom, the next seasonal corner to address was summer. Fed by the Dragon’s torrential rains above. I wanted to create a realm of unbridled abundance —where sprouting tendrils, tufted fruits, creeping vines, and unfurling foliage are densely packed together, a bumper crop year for Flower Fruit mountain! Plaster, bronze, terrazzo featuring Dragons Blood Jasper stones. Photos: @markhanauer

When I was asked to create a complete dining room, where every surface and plane was considered and crafted, one of the requests was to cover the back bay of windows with latticework that would allow natural light in, while providing privacy from the surrounding towers of Hong Kong. This sizable, wall-to-wall screen, became the feature - wall and backdrop to everything else, - it had to contain the narrative that all other elements would emerge from and respond to. With that in mind, I knew I needed my screens to evolve. In previous ones, I would stitch together favorite patterns - some invented, some inspired from cultures far and wide, Gothic with Japanese, Indian with Viennese. Those screens were about the interconnected relationships that occur when different patterns collide. But in this work, I wanted the patterns to evoke a sense of place, give each quadrant of the room seasonal significance, and to tell a story, as if we were gazing out at a special scene. Foreground elements, like terraced rice patties, a flowing river, trees, a monkey, and a dragon, crop a view of a mountainous landscape, distant bodies of water, and tempestuous skies. When I discovered the myths of Sun Wukong - the Monkey King, and his adversary the Dragon King, I knew I wanted to somehow depict his homeland, Flower Fruit Mountain, a place of waterfalls and floral abundance - each outlined hillside is packed with artichokes, pomegranates, fiddleheads, flowers, and mushrooms, teeming with life. The Dragon King, who controls the weather emerges from the clouds, bringing torrents of rain and lightning, and casts an angry stare at Sun Wukong, who is blissfully pondering the reflection of the moon upon the surface of water, while foraging for ripe ‘peaches of immortality.’ The screen went through many iterations throughout its production. With a project of this scale, I had to just begin, and let the process unfold. Often, months of work would be cut and turned to scrap metal, a slow and steady process that took years and one that not all collectors and logistical managers are up for, but happily everyone’s kindness and patience paid off. Images: @markhanauer

It felt like a dream - to be asked to create a site-specific work for The Grotto Room at Chatsworth House @chatsworthofficial for the exhibition, The Gorgeous Nothings: Flowers at Chatsworth. About 20 years ago, when I began creating commissions for homes, I looked to the past for inspiration and in my research, encountered the great European houses, the royal estates and great halls, where countless hours of artistry were united with the architecture, transporting reveling guests to ornamental realms and Arcadian visions. So you can imagine the thrill I felt, to come full circle, and create a work for one of the quintessential examples of such an estate, at Chatsworth House, UK. I was asked to contribute a wall mounted mirror for The Grotto Room, an interior space containing a fountain featuring the goddess Diana, caught off guard while bathing with her nymphs, flanked by sea creatures - a reference to the well known myth where the hunter, Actaeon, wanders far afield and encounters the goddess bathing in her Grotto. I wanted to see if I could depict my own idea of a Grotto - a mystical cavernous realm, often portrayed in literature and myth as a portal to the underworld, a dwelling place of the spirit world, a place where the veil is thin. Dripping stalactites descend upon rocky bluffs, creating cavelike hollows and perches for life. Animal, vegetal, and mineral are woven together, distinctions blurred, secret split gilled mushrooms open trap doors, a hermit’s hut burning the billowing mystical incense smoke, a viper carefully exploring while a stalwart crayfish stands guard, a stoic owl gazing out, as if unaware, the rock face is teeming with life, ceramic anemones and peyotes inhabit nooks and crannies, surrounding a pensive Sonoran psychedelic desert toad. #gorgeousnothings Grotto Mirror, 2025 📷: @markhanauer

Corin Mellor, creative director of David Mellor Design giving the UK Crew an inspiring tour of the factory. #davidmellordesign #davidmellor #davidmellorcutlery #design #silver #silversmith #blackandwhite #leicaq3 #q3